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Aesthetic Style As a Postructural Business Ethic John Dobson

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Aesthetic Style As a Postructural Business Ethic John Dobson Aesthetic Style as a Postructural Business Ethic John Dobson ABSTRACT. The article begins with a brief history of psychology; rather than a unified narrative, aesthetics aesthetic theory. Particular attention is given to the ‘‘is a set of discourses we have inherited’’ (Herwitz, postructuralist ‘aesthetic return’: the resurgence of interest 2008, p. 171). Pre-Socratic origins of the word are in aesthetics as an ontological foundation for human being­ etymologically derived from the Greek equivalents in-the-world. The disordered individual-as-emergent­ ‘to gasp’ or to ‘breath in suddenly’ (Onians, [1951], artist-and-artifact, who is at the centre of this ‘aesthetic 1988); the word is also linked to ‘play’ and being return’, is then translated into the ‘dis’-organization that is ‘beyond time’: the firm. The firm is thus defined in terms of its primal sensory impact on the world. It invokes a myriad of aes­ Phenomena which manifest or appear with the thetic relations between its disorganized self and others: its impact of a prominent or memorable emer­ essence resides within these relations; its power of being is gence…provoke the involuntary intake of breath…A determined by its ability to project a unified aesthetic ideal – gasp of this order ‘stops’, as it were, time itself – one is a ‘mirror fantasy’. The firm thus emerges as a style: where invariably ‘breathless’ before the emergence of the style is defined as an organizing – a sculpting – of aesthetic authentically beautiful…It goes without saying that chaos. In order to achieve a grand style, the firm projects such provocations to our everyday are more than just itself through time as a unified aesthetic ideal; as an ongoing ‘‘smart and pretty’’ (Postrel, 2003, p. 182), at the very work of art. The article concludes with a discussion of how least they launch a thousand ships. [Chytry, 2007, this aesthetic theory of the firm relates to other accepted p. 40] theories of the nature and purpose of business organizations. In the context of the foundational and pre- contextual nature of aesthetic judgment, Chytry KEY WORDS: postructural ethics, aesthetics, style, theory of the firm notes ‘‘the vital discovery that Schiller borrowed and expanded from Kant of the aesthetic as focused on the ‘free play’ of human faculties whenever …what is required…is to stop courageously at the understanding and imagination are in a state of surface, the fold, the skin, to adore appearance, to spontaneous openness or ‘indeterminability’ prior believe in form, tunes, words, in the whole Olympus to being ‘constrained’ either toward adopting a of appearance. Those Greeks were superficial – out of profundity. cognitive or a moral stance’’ (p. 37). In terms of developing a ‘general theory’ of aes­ Nietzsche, The Gay Science ([1882], 1974, p. 38). thetics, Kant’s Critique of Judgment is generally viewed as seminal (Herwitz, 2008; Nehemas, 1998). Kant defines aesthetic appreciation in terms of ‘‘the faculty Introduction of estimating an object or a mode of representation by means of a delight or aversion apart from any interest. The history of the study of aesthetics is vast and The object of such delight is called beautiful’’ ([1790], diverse. Theories concerning the importance of 1952, p. 139). ‘Apart from any interest’ implies that aesthetics stretch back to the origins of philosophy aesthetic judgment does not rest on ulterior utilitarian (Nehemas, 1998). Recently, the study of aesthetics motives: the ‘‘aesthetic attitude [is] the disinterested has been embraced by architecture, art theory, (with no ulterior purpose) and sympathetic attention literary criticism, musicology, film theory, and to and contemplation of any object of awareness whatever, for its own sake’’ (Stolnitz, 1960, p. 32). both the artist and artefact, sculptor and sculpture; Kieran provides an arboreal illustration: ‘‘the artist as his own spectator’’ (Lamb, 2005, p. 46). We might look at a tree in the garden and be The projection of our being through time is a pro­ interested in it in terms of what species it is (theoretical cess of continual creative self-transformation; a interest) or whether it is blocking out the sun and ‘‘sculpting of the self’’ (Peters and Michael, 2005,p. should be cut back (practical interest). However, we 383). In The Art of Living, Nehemas describes this might just sit back and attend to the contours of the aesthetics-as-ontology: ‘‘As in the acknowledged trunk and branches, their stratification, the way the arts, there are no rules for producing new and leaves rustle and sway gently in the wind, the dappled exciting works. As in the acknowledged arts, there is shadows cast on the bough, the bent-arm-like crook no best work – no best life – by which all others can of a branch as it stretches out. In this case we’re dis­ be judged…[But] that does not imply that judgment interested since we look at the tree and, if we’re lucky, is impossible, that every work is as good as so doing will afford us pleasure. [2005, p. 67] every other…[A]esthetic difference and multiplic­ Nietzsche, anticipating Freud, recognizes aes­ ity…enriches and improves human life’’ (1998,p. thetic attraction as pre-cognitively sensual: ‘‘every 10). As Nehemas notes, this notion of aesthetics as perfection, all the beauty of things, revives through central to human being has a long pedigree stretching contiguity this aphrodisian bliss [die aphrodisische back through Aristotle to early classicism. It has been Seligkeit]’’ ([1888], 1967, p. 1). Recently, Genette revived recently by a group of philosophers loosely has returned to Kant in emphasizing its contempla­ labelled as ‘postsructuralists’ (Cazeaux, 2000; Her­ tive nature: ‘‘an experience of intransitive, rapt witz, 2008). In order to develop an aesthetic theory attention on any object which may elicit interest’’ of the firm, it is to narrative that the remainder of (1999, p. 20). Thus any object, and not just objects this article turns. officially labelled as ‘art’, can be evaluated on the basis of aesthetic quality: ‘‘Aesthetics shows rather than tells, delights rather than instructs. The effects The aesthetic return are immediate, perceptual, and emotional’’ (Postrel, 2003, p. 6). Murdoch emphasizes the ability of In the introduction to The Continental Aesthetics aesthetics to transcend personal ego, and to present Reader, Cazeaux observes that ‘‘[a]esthetics has the viewer with an objective vision of reality: undergone a radical transformation in the last hun­ dred years’’. He continues: I am looking out of my window in an anxious and resentful state of mind, oblivious to my surroundings, Traditionally, the subject [of aesthetics] has always brooding perhaps on some damage done to my pres­ occupied the margins of philosophy, for the simple tige. Then suddenly I observe a hovering Kestrel. In a reason that it deals with those aspects of experience moment everything is altered. The brooding self with which are the least amenable to categorization, i.e., art, its hurt vanity has disappeared…Good art reveals what beauty, emotion, and the ever-changing delights of the we are usually too selfish and too timid to recognize, senses. However, the divisions imposed on reality by the minute and absolutely random detail of the world, modern reason and changes brought about by the and reveals it together with a sense of unity and form. industrialization of experience have necessitated a Good art shows us how difficult it is to be objective by rethinking of the relationship between the individual showing us how differently the world looks to an and reality. Gone are notions of a distinct self in receipt objective vision…It is a kind of goodness by proxy. of a mind-independent world and, in their place, are [1980, pp. 84–87] theses to the effect that consciousness and reality are interconnected at a fundamental level…The aesthetic, Murdoch’s linking of aesthetics with morality and formerly exiled from mainstream attention, assumes with our basic being in the world invokes the most centre-stage as the region to which we can turn for foundational aesthetic narrative: the notion of a new cognitive possibilities and a sensibility that is human life itself as a work of art. In this narrative, critical of the divisions exercised by modern thought. subject and object converge. We are individually [2000, p. xiii] Nietzsche anticipated this aesthetic return by Style as the Essence of the firm centring his philosophy on aesthetics: ‘‘we have our highest dignity in our significance as works of Essence, from the latin esse ‘to be’ delves beneath art – for it is only as an aesthetic phenomenon that affective characteristics of the firm: Is the firm existence and the world are eternally justified –’’ profitable? Is the firm ethical? It plumbs the depths ([1888], 1967, p. 449). Following Nietzsche, of being in the Heideggerian ([1927] 2008) sense by Foucault wonders, ‘‘couldn’t everyone’s life be­ simply asking: Is the firm? What is the fundamental come a work of art? Why should the lamp or the impact of the firm on our sensory awareness of it? house be an art object, but not our life?’’ (1973,p. Ongoing experimental research in psychology 350). Following Foucault, the central question indicates that aesthetic impact in general has a posed in this article could be summarized as ‘Why powerful influence on both our perception of the should the lamp be an art object, but not the firm world, and how we act in the world. Temporally, that produced it?’ Again, this casts the firm in the aesthetic impacts can be long and contemplative, or aesthetic role of both subject and object. It also pre-attentively instant. For example, a recent study means, as Cummins observes, ‘‘the acceptance of a by Olson and Marshuetz (2005) finds that we are human individual as a metaphor for organization’’ aesthetically impacted by an object even though it is (2000, p.
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